New England Conservatory; #5 (Reel 1)

Why why why. This is going to show her as president of the New England Conservatory of Music. I invite you to listen to this series of concerts which represent some of our more interesting efforts in recent months. These concerts involve both faculty and students and encompass a wide variety of performing groups soloists

and types of concerts. The New England Conservatory proudly boasts a very broad curriculum encompassing many directions and manifestations of music often considered peripheral by traditional music educational institutions. This curriculum is taught by a faculty which identifies with such a broad educational spectrum. Therefore these few concerts can only give a partial glimpse of the wide range of reforms is available to our conservatory audiences and the Greater Boston concert going public. We hope however that such as sampling may demonstrate that although the New England Conservatory is the oldest conservatory in the United States it is in its educational philosophy and in its attitudes. One of the youngest. I hope you will enjoy this series. Good evening this is Robert Bailey welcoming you to another concert in the 1968

69 season here in Jordan Hall the New England Conservatory of Music. Tonight's concert is being taped recorded on March the 24th 1969 and made available for this delayed broadcast through the facilities of WGBH FM in Boston. Tonight we present Rudolph coalition Russell Sherman in the third and final concert devoted to the complete sonatas for piano and violin Beethoven. This evening we'll be hearing the final three sonatas in reverse order beginning with the Sonata number 10 in G major opus 96 composed in 1812 followed by the Sonata number nine and a minor Opus 47 the famous Crotzer Sonata dedicated to the violinist Crotzer or bearing the dedication to the violinist Kreitzer even though it was written for bridge tower. And finally the Sonata number 8 in G major opus 30 number 3 composed in

18 0 2. The opening numbers are not a number 10. The last of the violence not US owes its existence to outward circumstances rather than I desired to create for the medium. An 18 12 PR road visited Vienna and the occasion called forth the Opus 96 Sonata in G major. By 1812 However road was well past his prime and brilliant rushing passages would not have shown him to the best advantage. And observation which Beethoven made in a letter to the Archduke Rudolph. The work is most marked by a simplicity and light heartedness in spite of the fact that it's probably the most carefully constructed and most homogeneous of all tense and authors. The work is somewhat unusual in having four movements. In Allegro mode a rattle. And a DA joyous placebo. Scattered so allegro and vocal tone. In a few

moments we can expect Rudolph Kolisch and Russell Sherman to appear here in Jordan Holland will have this opening work. These men are both on the faculty here at the New England Conservatory of Music. Rudolph college being artist in residence as well as faculty member. And Russell Sherman being the chairman of the piano department. Here now are Rudolph calling from Russell Sherman will have the opening where Sinatra number 10 in G major opus 96 have beaten. Me.

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Opening this formal concert featuring. Polish. Aggressive Sammy. And all people. Sin out of. Fear they are once more. The. Party joining. Stage. Very enthusiastic. For that. Performance. It's not a number 10 in G major opus 96. The applause continues. Once more Rudolph. Collins and Russell Simmons want. Your Privacy. In a few moments the program will continue with Sonata number nine and a minor Opus 47 the quater Sonata composed in 18 0 3. Undoubtedly the best known most brilliant and most difficult of all ten violence and itis. This Sonata number nine was composed

in 18 0 1 18 0 2. Originally for the mulatto violinist bridge tower for a performance at the out Garton on May the 24th 18 0 to. The work itself was not completed until the day of the first performance. Beethoven having to summon the copyist at 4:30 in the morning to copy the violin part of the Allegro movement. Even so the difficult variation movement was played from Beethoven's minute script and had an immediate success. The piano part played by Beethoven was only sketched here and there most of it being improvised. The Sonata was published 18 0 5 by some rock appeared with a dedication to Rudolph Kreitzer in spite of the fact that it was written for bridge towers many years later bridge Tarrant remembered that during the composition of the Sonata he and Beethoven were constant companions and the first copy bore a dedication to himself. However he and Beethoven quarreled over a woman and Beethoven changed the dedication in connection with the question

of the dedication. Jenny claims that the concluding theme of the exposition section of the first movement was taken from the published work like writer. On the last sheet of the eighteen or three sketchbook of here's a title for the Kreitzer Sonata. In the following words. So not a Perrier piano forte I don't we only know only got you know still long to conjure Dante. Classical maiden concerto. The word belonged they was. Nor has been written after Stilo but was scratched out. After reading the title we can have little doubt that they told and conceived this not in very large dimensions. The customary three movement concerto form the use of the Sonata Allegro form for the outer movements and the slow introduction the only one by the way in all 10 of the violence and orders. Are point to the concha tantric character of the music. The composition is indeed a tribute to the virtuosity of bridge tower and is the only virtuoso piece among all 10 of the sonatas. It's not a number 9 in a minor Opus 47.

Opening with an adult just a neutral. But I still followed by an undone take on body art Siani and concluding with a finale presto. And in a few moments Rudolph Kolisch and Russell Sherman will be reappearing on the Jordan Hall stage and will have the performance. This is not a number 9. Are they telling. You. Are good.

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